Did you know that the fashion industry is the second largest polluter in the world, next to oil? Never fear, because by buying from White Stoleyou’re doing something good for the planet! Allow us to explain our enthusiasm…White Stole was born to help our savvy Brides, Bridesmaids, Mothers-of-the Bride and Wedding Guests and Luxury Goods Lovers alikecontribute to the decline in the demand and production of “fast-fashion” items by buying high-qualitywhen others are buying low.Although most people assume that most of what they wear is natural fiber clothing, this is far from the truth. On top of how the fiber was grown and produced to create the fabric, how the fiber was processed, dyed and finished must be considered. Conventional manufacturingprocesses rely heavily on chemicals to clean and bleach fibers to prepare for spinning, weaving, knitting or dying - often with heavy metals and large amounts of water to flush and clean fabrics all the way up to and including the final finishing step in the garment process. The facts regarding production of new materials also make vintage, recycled, reclaimed and surplus fabric arguably sustainable choices, as the raw materials require no agriculture and no further manufacturing to produce. Of utmost importance at White Stoleis the fact that“Natural” fiber clothing refers to clothingmade from fiberfound in nature,such as the vegetable fibers of Cotton, Hemp, Linen and Flax; the protein fibers such as Wool, Alpaca and Cashmere; and the elastic fibrous secretions of silkworm larvae in cocoons used to create Silk. Each of the amazing natural fabrics in the White Stole Collection, irrespective of their distinct production and processing methods, nevertheless take them worlds-away from the man-made, artificially-created synthetic fibers which are chemically and structurally altered to the extent that they are toxic to both the person wearing them as well as to the planet.For instance, despite the fact that all Cottonhas a large carbon footprint for its cultivation and highly chemically treated production,Organic Cottonis considered a more sustainable choice for fabric because it is completely free of destructive toxic pesticides and chemical fertilizers. And while many designers have begun experimenting with Bamboofiber which absorbs greenhouse gases during its life cycle and grows quickly and plentifully without pesticides, Bamboofabric can cause environmental harm in production due to the chemicals used to create a soft viscose from hard bamboo. Some believe Hemp is one of the best choices for eco fabrics due to its ease of growth, though it remains illegal to grow in some countries. Most relevant and adored in the eyes of followers of White Stole,Silk, the“Queen of Fiber” and cherished by couture lovers the planet over, is the fact that there are multiple ways to grow and harvest secretions from the natural larvae – from wild to ancient methods that date back to the Ancient Chinese and the Roman Empire to more eco-friendly methods today.

Whether choosing one continuous silk threadthat has been dried, brushed and reeled around a spool to form one silk “raw”thread with its exceptional ability to absorb dye - or silk salvaged and harvested from a cocoon in smaller strandsthen spun or woven in ways similar to cotton or hemp to allow more silkworms to survive - real Silk holds the remarkably different feel and visible glossy luster, natural amber glow, texture, durability, natural stain-resistance, and high-quality look to the knowing designer and consumer of fine fabric.

As with all natural fibers,Silkfashion is a blending of compromises. Whether the silk is hand-loomedin rural India by ancient artisan weavers or pure-dyedwith mild-acid, environmentally low-impact fiber reactive dyes in a modern Italian cottage-industry factory using an age-old creation processas in thegoods presented in the White Stole Collection, the raising of silkworms is, by its very nature, sustainable. Andsilk is biodegradable!

Silkfabric when produced by weavers on handlooms has a near zero energy footprint, while silk produced by powerloomed textile factories are evaluated on a company-basis to determine sustainability. The environmentally- focused createurs are the suppliers White Stole has built their business upon.

White Stoleexists to offer Luxury Couturecreated with the highest-quality and integrity, as well as sustainable and ethical standards in the handmade tradition that has built the reputation of respect and admiration the Italian Silk Industryholds to this day.

In essence, it’s a double bottom line — buying from White Stole you are doing your small part to create a cleaner environment by choosing “Pure”Silk fabric that is already produced, dyed and finished in an organic, low-impact environment while being the chicest of Planet-Lovers!

Join White Stole in making great strides toward a more sustainable fashion industry with “Pure” Silkand Vintage Wraps!

During the Roman Empire, Silk was sold for its weight in gold. Today, “Silk” is yet another word for elegance, and silk garments are prized for their versatility, wearability and comfort. ​

Silk, or "soie" in French, is the strongest natural fiber. A steel filament of the same diameter as silk will break before a filament of silk. Silk absorbs moisture, which makes it cool in the summer and warm in the winter. Because of its high absorbency, it is easily dyed in many deep colors. Silk retains its shape, drapes well, caresses the figure, and shimmers with a luster all its own.

The styles and technological innovations made by Como's silk manufacturers may be new and constantly innovating, but the raw materials have remained constant for more than 4,000 years. 300 to 1,600 yards of filament extruded from silkworm cocoons have been the basis of the coveted silk fabrics. It takes 100 cocoons to weave just one tie, and 630 cocoons to make a blouse.

​Today, the entire finishing cycle of silk and of other natural fibers are masterfully applied to every new printing and weaving solution. The result merges the distinction between creativity and production as all themes are “creative:” the emergence of a fiber or weave, of a pattern or bold color combination, of an innovative print or a yarn-dyed fabric.

To this day, the end result of cutting-edge CAD design production technology combined with the creative rhythm of masterful creations by individuals dedicated to their craft point to the skill and the unmistakable products that emerge from the luxury textiles industry in Como, Italy.

White Stole offers representation of influential Italian luxury design and heritage production of printed, solid and yarn-dyed luxury women’s fabrics in silk, cashmere, cotton and modal using the traditional, custom-manufacturing that has originally been used in the production of Valentinoand Leonard Paris Couture Silk.

In the 6th century, silkworms were smuggled out of China in bamboo canes and brought to the eastern Mediterranean by two Persian merchants disguised as Priests. From there the labor-intensive business of breeding silkworms is believed to have spread first to Sicily in the 12th century, and then north to the shores of magnificent Lake Como.

TheSeduction of Silkon Lake Como's shores is little known to those outside of the fashion industry, but since the turn of the century, Como, a 2,000-year-old Roman town on the southwestern shore of the lake of the same name, has been the center of Italy's silk industry.

Como's picturesque Duomo is the perfect view of the history: Master weavers were already working in Florence in the 13th century. In the 15th century, Venice became a silk processing center. In the 16th and 17th centuries, Milan assumed prominence as both the Italian and European silk capital. By the turn of the 17th century, Como became the country's largest silk producer. Como now produces 85% of all of the silk made in Italy. The silk fibers are still woven, dyed and finished in Italy's finest silk factories, just the way they have always been.

The historic piazza in Como city center tells more of the story: Designers from virtually every fine house - from Valentino, Leonard Paris, Armani, Chanel, Hermes, Vuitton, Dior, Celine, Balenciaga, Herrera, Etro, Pucci, Burberry, Fendi, to Versace,and beyond - rely on silk from Como. A good deal of the credit for a designer's success goes to the silk houses. While the fashion-line's designers may come to the manufacturers with guidelines and inspiration for the types of fabric designs they envison, it is the manufacturers' artists in Como who actually execute the designs.

The first Shawls, or "Shals,"were part of traditional Persian costume in Achaemenid Persia worn by both males and females. Shawls were also part of the traditional costume in Kashmir, India, which was probably introduced via assimilation to Persian culture. They were woven in extremely fine woolen twill, some such as the ﻿Orenberg Shawl﻿, were even said to be so fine as to fit through a ring.

Kashmiri Shawlscame in two classes: they could be loom-woven in one color or in different colors (called tilikar or tiliwalla), and woven in one piece but more often sewn in small segments that are imperceptibly sewn together; or they could be ornately woven and embroidered (called ameli or amlikar). in which an intricate and elaborate pattern is stitched on top of plain pashmina wool.

Kashmiri Shawlsas high-fashion garments were brought to Western Europe in the early- to mid-19th century. Imitation Kashmiri Shawls woven in Paisley, Renfrewshire, Scotland are the origin of the name of the traditional paisley pattern. Shawls were also manufactured in the city of Norwich, Norfolk, England from the late 18th century (and some two decades before Paisley) until about the 1870s. TheKashmiri Shawlsfrom Asia maintained a pre-eminent place the world-over for their beauty and quality, particularly the Lightweight Wool Shawls, delicate Silk Shawls, and more sturdy Wool Shawls, however, it is due to their western imitations that Shawls took Europe by storm, replacing fibers like cotton and linen, thereby making it one of the most important accessory pieces in garment history.

The Kashmiri Shawlis characterized by the elaboration of its design, in which the "cone" pattern is a prominent feature, and by the glowing harmony, brilliance, depth, and enduring qualities of its colors. The basis of this richness is found in the very fine, soft, short, flossy under-wool, called pashm or pashmina, found on the shawl-goat, a variety of Capra hircus inhabiting the elevated regions of Tibet. There are several varieties of pashm, but the finest is a strict monopoly of the maharaja of Kashmir. India. Inferior pashm and Kirman wool - a fine soft Persian sheep's wool - are used for shawl weaving at Amritsar and other places in the Punjab of India, where colonies of Kashmiri weavers are established.

Kashmiri Shawlsreached their widest and most universal appeal in the West due to Napoleon’s conquests in Egypt and his alleged gifts of Shawls to Josephine, that galvanized their notoriety.

Silk Shawlswith fringes, made in China, were available by the first decade of the 19th century. Ones with embroidery and fringes were available in Europe and the Americas by 1820. These were called China Crepe Shawls, China Shawls, and in Spain " Mantones de Manila"because they were shipped to Spain from China via the port of Manila.

While the importance of Embroidered Shawlsin fashionable women's wardrobes declined between 1865 and 1870 in Western culture, they became part of folk dress in a number of places including Germany, the Near East, various parts of Latin America, and Spain where they became a part of gypsy dress - especially in Andalusia and Madrid. These Embroidered Shawls were revived in the 1920s under the name Spanish Shawls, a named derived from their use as part of the dress of Spanish Gypsies, also known as Gitanas. Their use as part of the costume of the lead in the opera Carmen contributed to the association of the Shawls with Spain rather than China.

Shawls are used today to keep warm, for added fashion to complement a costume, and for symbolic reasons at outdoor or indoor evening affairs where the temperature is not warm enough for women in sheer or off-shoulder dresses where a jacket might be inappropriate.

The elegant inspiration of a flowing Stoleas a ﻿formal wrap of expensive fabric wrapped around the shoulders over a long dress or ballgown, created from silk or natural fabric, and of a length long enough to be draped across either shoulders, or around arms or neck has survived in all cultures throughout the ages. ﻿

A Stole Wrapis typically narrower than a Shawl,and of simpler construction than a Stole Cape, and is typically worn loosely around the shoulders. Lighter materials such as silk and chiffon are simply finished or cropped, hemmed and bound. Heavier materials such as fur and brocade are typically lined. A SilkStoleis essentially a small version of a ladies’ Stole, made of silk. Though these garments or accessories aren’t always made of silk, they are typically manufactured with similar quality fabrics.

A Stolecan also meana fur or set of furs. For formal wear, a finished length of fur using pelts from more than one animal is worn over a suit, dress or gown. In this case, the word Stole stands alone or is used in combination: Fur Stole, Mink Stole. A Stole is typically narrower than a Cape or Wrap. TheFurStoleis kept fastened and held together at the front of the collar. Unlike a Silk StoleorShawl, which is wrapped loosely around a lady’s shoulders and occasionally the neck, a FurStoleis manufactured to fit the body more snugly

Similar to aShawl,the StoleCape typically uses more material length and covers more of the upper body. Also occasionally referred to as a Stole Wrap,theStole Cape is likely to be found in a wide array of materials and colors, but the most common type ofStole Cape is typically made of fur. Some popular dressy styles of Stole Capes might include ostrich feathers, marabou, or other material. The feathers can come in various colors, although black, brown and white are generally the most commonly seen.

In addition to making an elegant fashion statement, all types of Stoleshave been used to show respect while in a church or in a formal setting, such as for a Wedding, where it might be inappropriate to display bare shoulders or a low-cut gown.

Historically, Stoleswere considered ceremonial dress worn for special occasions or at formal events such as weddings, coronations, graduations, parades, religious rites and galas. Besides the Wedding Dress, throughout history the formal dress code of ceremonial dress has included the Ermine-lined Cloak,Crown and Septer of a King or Queen, Tribal Dress, Suit of Armor, Military Dress, Liturgical Robe, Graduation Gown, and Robe and Wig worn by British judges. The Stoleas an ecclesiastical vestment consisted of a narrow strip of silk or other material worn over the shoulders or, by deacons, over the left shoulder only, and arranged to hang down in front to the knee or below. The Stoleas a long robe was worn by the matrons of Ancient Rome.

The lithograph plate posted here showing a variety of ways of wearing shawls in early 19th-century France (ca. 1802-1814), is redrawn from various early 19th-century sources by Durin forAlbert CharlesAuguste Racinet's Le Costume Historique (1888),and shows the myriad, exquisite ways the Silk Stole Wrap has been worn over the ages.

Any study of fashion can not be separated from women’s fashion history and an understanding of the beginnings of Haute Coutureliterally meaning “high-quality sewing.” Paris had been the center of couture since the 19th Century when couture was transformed from a craft into business, and high art.

Women’s fashion had been put on ice during WWII from 1939 to 1944. During the occupation of Paris in 1940, many fashion houses were forced into war-related industries. The progress of the war made it necessary to prohibit all superfluous material and labor. America followed Britain in clothes rationing with L85 restrictions, promoting the approved” Victory Suit”with its narrow styling as being more practical and patriotic.

The Allied Nations were at a loss when Paris fell because they had looked to Paris as the World Capital of Fashion since the 17th Century. Despite materials rationing on both sides of the Atlantic, some 20 Parisian couture fashion houses violated the wartime silhouette during this time and continued to produce approximately 100 models per year – primarily for wealthy collaborators or for export to Germany. From Designers to Apprentices, the French declared they had fought to keep Parisian Couture alive because it represented a Parisian industry of prime importance, a means of employment…but most importantly, because it preserved Haute Couture in the eyes of the world.